Class 



A HAKDBOOK f 

GYMNASTICS. 



G-EOEGE rOEEEST, Esq., M.A. ' 

rOH or THE " FIAXGEOrsr ; " TDIIOK OF "EYEET BOT'S 
BOOK," ETC. 



LONDOlfr 

)EGE ROUTLEDGE AND SONS, 

BKOADTAY, Lt'DGATE HIIL. 
1865. 
i. 



QVsu 




^ CONTENT& 



PAGE 

PREFACE V 

INTRODUCTION 7 

EXERCISES WITHOUT APPARATUS .... 10 
EXERCISES ON THE PARALLEL BA.RS ... 21 

THE GIANT STRIDE 30 

CLIMBING THE BOARD 32 

CLIMBING THE POLE 33 

CLIMBING THE ROPE ........ 33 

THE HORIZONTAL BAR 35 

THB WOOPEJ? HOUSE .53 



PBEFACE. 



This little book contains an abstract of tho 
exercises which I have had the pleasure of 
teaching to my pupils, and practising myself. 

Every exercise has been performed by 
myself, and therefore can be relied on as 
practicable. 

The reader will not, of course, imagine 
that I have exhausted the subject, for that 
would be a work of years and many volumes. 
But I have given the most important of the 
various feats^ which, if properly used, will 
serve as keys to almost every gymnastic 
exercise known. 

For the body and limbs will be so strength- 
ened, when they can achieve the feats here 
mentioned, that they will find but little dif- 
ficulty in mastering any gymnastic problem 
that may be set before them. 



GYMNASTICS, 



IXTEODUCTIOX. 
Some generations since, the state of society was 
so essentially combative, that men valued mere 
brute force far beyond the more ethereal quali- 
ties of the mind, and cultivated it accordingly. 

To train the body was the grand end of edu- 
cation ; and the best-educated man was he who 
could strike the heaviest blows, and endure the 
greatest labour. 

Sometimes a knight and a gentleman possessed 
the accomplishment of reading, and thereby 
obtained the character of a great scholar ; while, 
if he could also write sufficiently to sign his 
name, was in some danger of suspicion as a 
wizard. 

As civilisation proceeded in its onward march, 
men began to feel that learning and science did 
not really degi-ads hiunan nature, and perceived 
that a knight might chance to be a better gentle- 
man if his mind were cultivated as well as his 
body. 



6 



GYMNASTICS. 



TlievQ seems also to have been a little jealoiLsy 
at work : for as learning was, as a matter of course, 
confined to the cloisters, it naturally followed 
that their inmates exercised a sort of increasing 
influence over the strong-handed but pudding- 
brained race that surrounded them. 

So, by degrees, it happened that the brains of 
Englishmen, after being for many generations 
systematically cramped, began to expand and 
develop themselves. 

Then followed a reaction, which has continued 
nearly to the present day. 

Now-a-days the brain is stimulated from earlj 
years, forced like a cucumber under a glass 
shade ; the intellect is cultivated at the expense 
of the body, which is left to grow as it best can. 

In this book I say nothing of the education of 
the affections, for this subject belongs to another 
place. 

But people are beginning to awake to the 
idea that the body is a very important portion of 
the humanity, and to feel that the health of the 
body is most influential ujpon the mind. 

When the body is indisposed, the brain is 
indisposed also, and the mind cannot act pro- 
perly upon its disordered medium. The intel- 
lectual powers lose their grasp, the fancy ceases 
to glitter under the pressure of illness, and a 
temporary attack of indigestion, which is mostly 



GlilNABTiCS. 



9 



caused by inert habits, might lose an empire. 
According to history, it did once lose a battle. 

Happily there seems now to be a general feel- 
ing that body and mind ought to be developed 
to the utmost, for they are both gifts to us, and 
ibr the proper use of both we are responsible. 

I have for years been much impressed with 
vhe exceeding value of gymnastic exercises in 
ducating the young, and have always introduced 
■ hem as a regular part of education. 

Even irrespective of the increased health that 
these studies impart, and the spring which they 
give to the mind, they possess one great advan- 
age, namely, that they endow the gymnast with 
. Teat presence of mind in difficulties. 

By practice a gymnast's fingers and toes cling 
ike burrs, where ordinary people could find no 
Lold at all ; and he feels himself perfectly safe, 
fhere others w^ould assuredly perish. 

It is curious that we English, who possess 
)erhaps the finest and strongest figures of all 
2uropean nations, should leave ourselves so 
mdeveloped bodily. There is not one man in 
*i hundred who can even raise his toes to a level 
"vith his hands when suspended by the latter 
nembers ; and yet to do so is at the very be- 
;jinning of gymnastic exercises. 

We, as a rule, are strong in the arms and legs, 
Dut weak across the loins and back^ and are 



10 



GYALN'ASTICS. 



ax^pareutly devoid of that beautiful series of 
muscles that run round the entire waist, and 
show to SLich advantage in the ancient statues. 
Indeed, at a bathing-place, I can pick out every 
gymnast, merely by the development of these 
muscles. 

It must be remembered, too, that a man need 
not possess very large muscles, to be a very 
strong man. 

At first the effect of these exercises is to 
enlarge all the muscles ; but after a while they 
become smaller in volume, but wiry and sinewy 
in texture, with no superabundant fat among 
their fibres. 

EXEECISES WITHOUT APPARATUS. 

COMMENCEMENT. 

At the beginning of gymnastics, there is no 
need for any apparatus whatever ; and the be- 
ginner will find that several of the feats v/hich 1 
am about to mention, will tax his powers to no 
small degree, before he takes to ropes, horses, 
and poles. 

If he should feel himself fatigued while learn- 
ing any feat, he should rest awhile, and v/hen 
refreshed, either try again, or pass to another 
movement. 



GYMNASCICS, 



U 



DRESS. 

The best costume for a gymnast (if he uses 
any costume at all) is a light and loose flannel 
suit, with a belt round the waist, that can be 
buckled to suit the convenience of the wearer. 

Some gymnasts like their belts to be very 
wide, and tolerably stiff. 

The shoes should be quite light, made of soft 
leather, and without heels. 

Always keep a coat or wrapper at hand, and 
put it on while resting, for there is nothing that 
is more likely to give cold as to sit in the 
open air, or in a draught, while heated and 
fatigued. 

The gymnast will find himself much benefited 
by a sponging with tepid water immediately 
after he has finished his exercises. If practicable, 
a shower-bath is even better. 

ECONOMY OF POWER. 

The study of gymnastics does not only in- 
crease the bodily strength, but teaches the 
learner how to economize that power which he 
possesses. 

When an unskilful person is trying to perform 
any feat, — such, for example, as raising himself 
Dy his hands, — he makes a series of violent 
struggles, and flounders about with his legs. 



12 



GYMN^iSTlCS. 



Now every movement, except that which its 
requisite for the performance, is just a waste of 
so much strength, and only serves to exhaust, 
instead of assisting. 

A good gymnast performs all his feats quietly 
and easily ; and, indeed, it is almost a general 
rule, that when some feat appears to be especially 
easy, it is in reality exceedingly difficult. 

We now proceed to the first exercise. 

EXTENSION. — No. 1. 

Place the feet close together, and stand per- 
fectly upright. 

Now stretch the hands out straight in front, 
at the level of the shoulders, and place the palms 
together. 

Separate the hands, and still keeping them 
at the same level, and the arms straight, try to 
make the backs of the hands meet behind you. 

Continue to practise this movement until the 
hands meet easily behind. It is very difficult at 
Erst, but soon becomes easy, and is a splendid 
mode of opening the chest. 

Take care to keep the feet together, and the 
body upright. 

No. 2. 

Stand as before, with hands in front, palmg 
upwards. 



GYMNASTICS, 



13 



Close the hands, and bring the dbows sharply 
backwards, until the hands are level with the 
Bides. 

Send them forward again, as if you wanted to 
annihilate an enemy in front, and repeat until 
tired. 

No. 3. 

Stand as before, but bring both fists to the 
shoulders. 

Send them upwards, as if the enemy were in 
the clouds. Bring them down as if there were 
another on the ground, who must be crushed 
with the elbows. 

No. 4. 

Stand firmly and uprightly, throwing the 
weight of the body rather on the front of the 
feet. 

Stretch out both hands, with fists tightly 
shut. 

Now bring them slowly over the head, and 
make them revolve in circles, first forward, and 
then backward. 

These exercises should be done very slowly, 
and especial care be taken that the body is kept 
upright. 

These extensioji movements are intended to 
give ease and phancy to the arms and their 
joints. 



14 



GYMNASTICS. 



The beginner must expect to find himsell 
ratlier stiff after he has been performing thera^ 
especially after No. 1 ; but the feeling will vevy 
soon wear off, and does not again make its 
appearance. 

TOE PRACTICE. 

Place the hands on the hips, and stand quite 
upright. 

Rise slowly on the toes as high as possible, and 
remain so as long as possible. 

Do this many times, for it strengthens the 
calves of the legs mightily. 

Eemember to keep the knees quite straight. 

After practising this movement for some time, 
vary it by jumping on the toes, keeping the knees 
stiff, body upright, and the heels well off the 
ground. 

KNEE PRACTICE. — No. 1. 

Stand as before, and kick your thighs with 
your heels, using each leg alternately, and as 
rapidly as possible. ^ 

No. 2. 

Keep the body very upright, and strike the 
chest with each knee alternately. 

Be very careful not to stoop forward so tQ 
meet the knee with the chest. 



GYJINASTICS, 



j This exercise is intended to loosen the knee- 
joints in another manner. 

No. 3. 

Stand as in No. 1, and kick both thighs with 
both heels simultaneously. 

I A slight spring from the toes is required to 
i achieve this feat properly. 

I If rightly performed, the feet should come to 
(the ground on precisely the same spot. It looks 
very clumsy if the performer loses his balance, 
i&nd keeps altering his place. It shows that his 
jbody is not perfectly upright. 

No. 4. 

Place both feet together, the toes on a line, and 
I the hands on the hips. 

I Now kneel slowly until both knees rest on the 
tround. 

Hise again, without removing the hands from 
tne hips or the toes from the line. 
1 Do it twenty times at least, without stopping. 

No, 5. 

' j Now for the first hard one. 

Stand as before, with the toe of one foot on thu 
i (ine (say the right foot) and the other foot off the 
^ound. 

Keep the left foot from touching: the ground, 
i^aid kneel upon the ri^kt knee. 



16 



GYMNASTICS. 



Else again without moving the toe from th «^ 
line. 

This is rather difficult, and requires a ni>; 
balance of the body. Be careful to kneel very 
slowlj, or otherwise the knee will come do^v;^ 
with such a thump that it may suffer no smv 
inconvenience. 

Practise this with each foot alternately. 

No. 6. 

Plenty of knee-practice. Here is another st: \ 
one. 

Stand on the right foot, bend the left knee, ar 
hold the left foot in the left hand. 

Now touch the ground with the left knee, an 
rise up again, v>uthout loosing hold of the foot c . 
suffering it to touch the ground. 

As in the former cases, the right toe shoul : 
remain on a line, and never move from it. 

At first it will appear as if some resistles 
power were dragging the foot out of the hand 
but after a while it becomes easy. 

Practise with both feet. 

No. 7. 

As the preceding, only do not hold the foot, oi 
suffer it to touch the ground Take care not ic 
lose the toe-lina 



GYMNASTICS. 



17 



No. 8. 

Hardest of all, and very comical. 

Hands on hips, toes together on the line, body 
quite upright. 

Eise on the toes, and then sink gradually down, 
the knees projecting in front, until you sit on 
your heels, the whole weight of the body being 
supported on the toes only. 

Down you go, so pick yourself up, and perse- 
vere until you succeed. It is not so much the 
strength as the knack that is needed here. 

SITTING PRACTICE.— No. 1. 

stand upright, cross the feet, and sink gradually 
until you rest on the ground after the tailor 
fashion. 

Rise again, without moving the hands from the 
hips or the feet from their places. 

No. 2. 

This exercise is a capital test of the ability of 
the tailor who makes the gymnastic suit of 
clothes ; for if there should be a defect in the 
nether garments, they will fly asunder with a 
report like a popgun. 

When the gymnast can manage this feat, he 
may congratulate himself on having made a con- 
siderable advance. 

B 



18 



GYMNASTICS. 



Stand upright, extend both hands in front as a 
counterpoise, which is much needed, and hold out 
the left leg in front, at right angles with the body, 
and knee quite straight. 

Now, still keeping the left leg in its position, 
bend the right knee very slowly, and sit on the 
ground. 

Being seated, rise again, preserving the same 
attitude. 

Don't be in too great a hurry to take your seat 
or you will come down with a run. 

This is an invaluable exercise, as it gives a 
power of raising the body when in a position from 
which none but expert gymnasts could even stir. 
It is very difficult at first, for we feel a great 
repugnance to let the body sink sufficiently low, 
and most who try it declare it to be impossible. 

However, after a few trials, they get over its 
difficulties, and manage it easily. 

CUTTINa CAPERS. 

stand with the toes together, and hands on 
hips. 

Spring upwards, and, as you rise in the air, 
cross your feet and return them to the same 
position. 

The toes must be kept pointed, as they will 
strike against each other as they attempt to 
cross. 



GYMNASTICS. 



19 



, Do not heed the curious sensation as if the 
i feet were held by bonds, but persevere, 

i| FOOT TO HAND. 

' Keep the body upright, hold out the right 
hand in a line with the shoulders, and kick it 
with the right foot. 

Practise both feet alternately, knees quite 

I straight. 

THE COMPASSES. 

Easy enough, but useful. Spring into the air, 
and spread the feet as widely apart as possible, 
bringing them together again before touching the 
gi'ound. 

THE HANDSPRING. 

Stand on the toes, lower yourself as m knee 
practice No. 8. 

Throw yourself forward at full length, body 
jl stiff, and support yourself on the hands and tips 
of the toes. Take care of the nose. 

Then spring from the ground with the hands, 
and clap them together before they touch the 
ground again. 
y To rise neatly from this position bring your 
I feet between the hands with a sudden spring. It 
! looks neat if you clap the hands aa you bring up 

the feet. 
I b2 



20 



GYMNASTICS. 



TOUCHING TOES. 

Hold tlie liands above the head, the palms in 
front and the thumbs just touching each other. 

Now, keeping the knees stiff and straight, 
bend over until the fingers rest on the toes. 
Continue to practise this until you can pick up a 
sixpence at each heel while the knees are kept 
straight. 

OVER THE STICK. 

Take a stick of any kind, a poker, or a walking 
stick will do, and hold it with the hands three 
feet apart. 

Stoop down, and place your knuckles on the 
ground in front of your toes, still retaining hold 
of the stick. 

Then step over the stick without loosing your 
grasp or moving the knuckles from the groimd. 
It is capital practice. 

JUMPING THROUGH THE HANDS. 

Hold both hands in front of the body, place 
the tips of the middle fingers together, and jump 
through them without separating the fingers. 

Take care not to knock the chin with the knees, 
for both those portions of anatomy have to ap- 
proach each other very closely before the feet can 
pass through the arms. 



GYMNASTICS. 



21 



Don*t attempt to perform this feat if your 
shoes have heels to them, or your thumbs will 
suffer. 

EXERCISES ON THE PARALLEL BARS. 

THE BARS AND THEIR CONSTRUCTION. 

The Parallel Bars are very simple in their 
structure. 

They are two wooden bars, about six or eight 
feet in length, four inches deep, and three wide, 
with their upper edges rounded off to prevent 
damage to the hands. 

They are placed about eighteen or twenty inches 
apart, and four feet high, and fixed according to 
pleasure. 

If they are intended to be permanent, they 
can be supported on four posts firmly driven 
into the ground. 

But if they are to be used under cover, they 
ought to be supported on a wooden fran: ^work. 
And it would be much more convenient for the 
frame to be nicely morticed together and held by 
screws, so that, in case of removal, it can be taken 
to pieces, and packed in a small compass. 

This mode of manufacture is just as easy as 
( any other, and infinitely more convenient. 

K I were to give an account of every manoeuvre 
that can be executed in the Parallel Bars, I should 



22 



GYMNASTICS. 



require a large volume especially devoted to that 
subject. 

I shall, therefore, content myself with noticing 
the more important feats that are generally exe- 
cuted, and leave the reader to invent as many 
more as he chooses. 

TO GET ON THE BARS. 

Stand between the bars, with hands closely 
pressed against the sides. Spring up, and placing 
a hand on each bay, remain suspended between 
them. This is called the first position. 




When fairly established, accustom yourself as 
much as possible to the bars, and practise the 
wrists in their work. 

SWINGING. 

The next feat is called the swing. 
\VlLile suspended between the bars, with the 
knees straight and the feet touching each other, 



GYMNASTICS. 23 

begin to swing the body backwards and for- 
wards. 

By degrees increase the swing, until the body, 




when swinging backwards, is nearly upright in 
the air ; and when going forwards, the feet come 
nearly over the head. 

The accompanying figure shows a learner who 
can nearly accomplish this feat. 

THE WALK. 

First position. 

Now walk along the bars, using the hands as 
feet, and whe7i you have reached the end, walk 
back again. 

It is not so easy as it seems, and the back walk 
tires the arms entirely. 

Keep the arms straight, and don't shrug your 
shoulders over your ears, or make irregular and 
hasty steps. 

THE LETTER L. 

First position. 

Eaise the legs to a level with the bars, making 
them form a right angle with the body, and 
keeping the knees quite straight. 



GYMNASTICS. 



In this attitude the gymnast turns his person 
into a representation of the letter L. 

After doing this figure in the first position, 
stand between the bars, pass the hands under 
them, and so grasp them from the outside. Then 
make the L again, as shovrn in the cut 



This is a very useful figure to learn, and 
strengthens the loins greatly. 



When in the first position, swing the legs for- 
wards, and you will be able to seat yourself on 
either bar, as shown in the engraving. 



A more powerful impetus will enable the gym- 
nast to throw himself entirely over the bar and 
to come on the ground. 




SITTING ON THE BAR. 




GYMNASTICS. 



26 



The swing in either direction will be found 
sufficient to throw the gymnast over the bars 
without any apparent exertion, only he must be 
caref . to keep his knees straight, and to clear 
the toes. 

THE JANUS. 

Sit on the bars, as on a saddle, one leg over 
each bar, and the hands resting on the bars behind 
the legs. 

Now, disengage the feet, swing boldly through 
the bars, and seat yourself astride, with your face 
in just the opposite direction. 

Be sure to swing high enough, or the shins will 
be sadly knocked against the bars. 

RISING AND SINKING. 

First position. 

Sink gradually between the bars, until you 
assume the attitude shown in the cut. 




Remain in that attitude for a short time, and 
then rise again, 

II 



26 



GYMNASTICS. 



There are few exercises that open the chest 
more decidedly than this. 

There is rather a neat biodification of this 
manoeuvre, called 

KISSING THE BARS. 

Sink between the bars, as in the preceding 
paragraph. 

Then kiss each bar successively lehind the 
hands, and rise. 

It tries the wrists somewhat, as well as the 
chest. 

BAR-JUMPING. 

First position. 

Now proceed along the bai's by a series of 
jumps with the hands. 

Practise this at first with bent knees to make 
the work easier, but do not rest content until 
you can jump along backwards and forwards 
with straight knees. 




THE ARil SWING. 

First position. 

Suddenly bend the elbows, and rest with the 



GYMNASTICS. 



27 



fore-arms on the bars. Swing while in this posi- 
tion, and look out for elbows. 

When you have swung sufficiently, hang sus- 
pended between the bars, and then ral^e your- 
self on the hands again. 

Practise the drop upon the fore-arms and the 
rise as often as possible. 

STAXDIXG ON THE BARS. 

Now one of our former exercises (Sitting Prac- 
tice No. 2) comes into play. 

Sit astride either bar, and secm^e a good balance 
of the body. 

Then place the sole of one foot on the bar, and 
hitch the other toe under it. 




Now, by means of the toe, draw yourself to an 
upright position, and bring both feet together. 

This is a very neat little exercise, and often 
entirely baffles those whose previous training has 
not fitted them for it. 

TKE barber's CTRL. 

Go to either end of the bai-s, and do the 
letter L. 



28 



GYMNASTIC^ 



Count ten, and turn slowly over, as the central 
figure in the engraving, until you assume the 
attitude represented by the right-hand figure. 




Count ten, and re-curl yourself to the L, when 
you may again count ten, and then rest your- 



Be careful to keep both knees quite straight, 
and the feet well off the ground. 

THE SxVUSAGE. 

Begin by kneeling on the bars, and placing 
both hands on them. 

Slide the hands forward and the legs back- 
ward, hitching the toes over the bai^s, until the 
body hangs between them. 




Count ten and draw yourself up again. 

Don't be afraid. You will not snap across the 
middle, although you may feel as if you were 
about to do so every moment. 



aYMNASTICS. 



^9 



THE SPRING. 

Svving at one end of the bars, and, when in full 
course, launch yourself forward, alighting on your 
hands in the grasshopper fashion shown in the 
engi'aving. 




Very great care must be taken of the accuracy 
of the balance, or down you go between the bars 
and come flat on your back on the ground, 

TOUCHING THE BARS. 

First position. 

Now, suddenly take the right hand from its 
bar, and touch the left bar in front of the body, 
instantly returning the hand to its own bar. 
Look out, or you will drop through the bars. 

Do the same with the left hand. 

When you can do this easily, practise it with 
this modification, — that you pass the hand^ 
j behind the body in touching the bars. 



30 



GYMNASTICS. 



THE GIANT STRIDE, 
Or Flying Step. 

Many schools possess this admirable piece of 
apparatus^ but in very few is it used properly, 
or its powers rightly shown. 

Generally the pupils are contented with taking 
hold of the ropes and running round the pole. 
Then they complain that the thing is useless. 

Whereas, the Giant Stride is a capital affair 
for a school, as it can accommodate from four to 
six players at a time, and lends itself to all their 
peculiarities. 

If they come out on a cold day, and want to 
be warmed, five minutes of Giant Stride will 
send a glow through their systems that will defy 
any British frost. 

If they want to jump over heights, the Giant 
Stride will launch them over a ten-foot pole. If 
they wish to perform a series of gi'aceful move- 
ments, the Giant Stride affords facilities little 
short of those given by the ice. 

STRUCTURE OF THE GIANT STRIDE. 

It is composed of an upright pole, tipped with 
a revolving cap, to which are fastened sundry 
ropes. 

The central pole is best made of a tree trunk, 



GYiTNASTICS. 



31 



— ^if a rooted tree, and it can be left undisturbed, 
so much the better. 

Otherwise, it must be of thoroughly well- 
seasoned wood, strong and genuine. 

The lower end should be charred, in order to 
keep it from rotting, and the hole in which it is 
set should be quite six feet deep, and paved with 
stones. 

From the ground to the top of the pole should 
be about fourteen to fifteen feet. 

An iron cap is then placed on the top, tra- 
versing freely on a pivot, and carrying four rings, 
on which are fastened four ropes. To the end 
of each rope should be fastened cross bars of 
elm or ash about two feet in length. 

The apparatus being thus completed, the gym- 
nasts are to hold the cross bars at arms' length, 
and run round the pole, bearing their weight on 
the ropes, so that their hands, heads, and feet 
are in the same line with the rope. Their fee^- 
will then gradually leave the ground, and only 
touch at intervals. 

After practising this from right to left, do the 
same from left to right, until it is as easy to rur 
one way as the other. 

Take care not to lose your balance, or you will 
turn round, and grind yourselves on the ground 
very unpleasantly. 

This is but the beginning. The young gymn^t 



32 



GYMNASTICS. 



should tlien run round, keeping himself con- 
stantly rotating, which maj be done by the 
touch of the toe against the ground. 

Another accomplishment is to describe four 
cii'cies in going round the pole, making the hands 
the centre of each circle, and the feet the cir- 
cumference. 

A pole should also be erected, about a yard 
outside the range of the feet, and to this should 
be fixed a number of pegs, which will support a 
string passing from the central pole. Over this 
the gymnasts should leap, performing the move- 
ment merely by the centrifugal force, and not 
by the spring of the feet. 

About ten feet is considered a good height for 
a boy to attain, but a man can go higher. 

CLDIBIXG THE BOARD. 

Let a board be fixed at an angle against some 
object, such as a wall, and capable of alteration. 

Let it first be fixed at an angle of 45° or so, 
or even at a less angle than this if necessary. 

Then gi-asp the outside edges of the board 
with both hands, set the feet flat upon its centre, 
and try to mount by moving hands and feet 
alternately. 

Make very little steps both in ascending and 



GYMNASTICS. 



33 



descending, and, in the latter instance, be specially 
careful to avoid a sudden slide down the board. 

As you improve, set the board more upright, 
until you c^n ascend it when ib is quite per- 
pendicular. 

It is also possible to ascend a pole in the same 
manner. 

Remember that the soles of the shoes must 
not be new and slippery, or neither pole nor 
board will be sui-mounted. 

CLIMBING THE POLE. 

The ordinary mode of ascending a pole or a 
bare tree-trunk (in some places called "swarm- 
ing is by grasping it with the arms and legs, 
and alternately raising them to higher positions. 

Some gymnasts ascend the pole as stated in 
the preceding paragraph ; and it certainly has 
the advantage in point of appearance. 

In descending the pole, be careful not to slide 
down loo fast, or there will be excoriations of 
skin and damage to clothing. 

CLlMBmG THE HOPE. 

^ This most useful exercise should be constantly 
1 practised. 

In every gymnasium there is at least one rop^ 





34 



GYMNASTICS. 



! 



suspended, which ought to hang freely, and to 
be without knots. 

The easiest mode of ascending the rope is hy 
grasping it as high as possible with the hands, 
and holding it also with the feet, one of which 
is under and the other pressing upon the rope. 

Thus the weight of the body rests considerably 
on that portion of the rope that is held by the 
feet. 

Then, as the hands are raised to take a higher 
hold, the feet sustain the body, and vice versa. 

But one who means to be a true gymnast 
despises the feet in rope-climbing, and pulls 
himself up solely by the alternate action of the 
hands. 

Be very careful never to descend by letting 
the rope sHde through your hands, as it will 
assuredly inflict a painful wound, and may cut 
them to the bone. 

Always descend hand imder hand. 

Many exercises may be performed on the rope, 
which will suggest themselves to the gymnast. 

For example, it affords a decided contrast to 
the ordinary mode, if you grasp the rope with 
the hands, and then, inverting your position, 
throw the feet over the head, and hold the rope 
between them, keeping the knees straight. 

In this attitude ascend the rope, and descend 
again, taking care not to let the hands slip, or 



GYMNASTICB- 



tho strength of your skull will be unpleasantlj 
tested. 

Again : Grasp the rope at a point about two 
feet from the ground, and retreat as far as you 
can, holding the rope in the hands. 

Now, leap into the air, and swing as far as 
you can, launching yourself forward, and mark 
ing the spot where the toes touch the ground. 

Be careful to cmd the body well upwards as 
you swing forwards, or you will assuredly scrape 
the ground just under the point where the rope 
is suspended, and the consequences will be dis- 
astrous to clothes and cuticle. 

THE HOKIZONTAL BAE. 

This is a very simple piece of apparatus, being 
merely a pole fixed horizontally at any height 
that may best suit the gymnast. 

There are several modes of fixing it, the most 
usual being to fasten each end to an upright 
post, which is furnished with mortices, so a5 
to permit the height of the bar to bo altered 
at pleasure. 

But there is one mode, which I e{.pecially 
affect, called the triangle, which can be used 
wherever there is a beam of sufiacient height for 
its suspension. 

It is made as follows : — 



36 



GYilNASTICS. 



Get a bar of any strong wood, — deal will do, 
if it is uniform in grain and quite free from 
knots. Its diameter is about twD inches and 
a half, and its length a little over three feet. 

Also, get a piece of well-made, but not very 
thick rope, about eighteen feet long, and securely 
fasten the ends of the rope to the ends of the pole. 

Fasten an iron " eye " into the centre of the 
rope, and you have the most important part of 
the triangle made. In fact, the rope and pole do 
form a triangle when suspended from the " eye." 

Have a strong iron pulley firmly fixed into the 
beam, pass a stout rope through it, fasten one 
end of the rope to the " eye " of the triangle, 
and haul away at the other until you have sus- 
pended the pole at the proper height. 

Make fast the loose end, and then you have 
an apparatus that can be adapted to httle boys 
of eight years old, or tall lads of eighteen years 
of age and six feet of stature. 

The proper height for the horizontal bar is 
when the raised hands cannot quite reach it, 
and a small jump is requisite before the gymnast 
can suspend himself by his hands. 

The triangle is useful, because it swings and 
twists about, and requires the gymnast to exert 
his power exactly in the proper direction ; for if 
he does not so, away goes the bar out of his 
reach. 



GYMNASTICS. 



37 



i Besides, it is good to be accustomed to main* 
'tain a safe hold on so changeful a support, and 
jnot to heed any amount of swing or spin. 

Having adjusted the triangle to the proper 
jlheight, we begin by 

\ HANGING ON THE POLE. 

Jump up, and seize the pole with both hands, 
' taking care to have the knuckles upwards, and 
■\t/ie thmhs on the same side of the pole as the fingers. 

This is indispensable. Never grasp the hori- 
zontal bar as you would a broomstick, but merely 
' hitch the fingers over the bar in a fish-hook style. 
\ Watch a monkey gambolling about his bars, 
«i and see how he holds them. The sloth, too, 




merely hooks his curved claws over the branches, 
and defies the gales to shake him off. 

So, imitate the sloth as well as you can, and 
curve your hand into a hook-like form. 



38 



GYMNASTICS. 



I>At the body hang quite straight, but not 
stiffly so, the knees straight, and the toes rather 
pointed. 

After a while, practise hanging by each hand 
xlternately, letting the other arm hang easily by 
the side. Don't twist round, or you will lose 
your hold. 

A few blisters may be expected at first, but 
they are caused almost entirely by unskilful 
management of the bar, and will soon get well 
again. 

THE WALK. 

Hang on the bar, and make alternate steps 
with the hands, so as to carry you from one end 
of the bar to the other. 




Do this first to one end of the bar, and then 
return by the same method. Be careful to make 
the movement equably, and don't kick the legs 
about. 



aYMNASTICS, 



39 



' When you can execute tliis movement properiyj 
place one hand at each side of the bar, and do 
the same thing. 



Hang on the bar, JcmcJcles uppermost^ and slowly 
draw yourself up until the chest rests against 
the bar. 

Lower yourself as slowly, hang for a moment, 
and again draw yom-self ; ip. 



This should be practised continually, as it is 
the foundation of most of the exercises, and 
strengthens -the body and chest very consi- 
derably. 

Let the legs hang quite still while doing it^ 
and do not be content imtil you can draw your- 
self up twelve successive times without feeling 
fatigue. 



BREASTING THE BAR. 




40 



GYMNASTICS. 



STOOGING. 

This exercise cannot be practised on the 
triangle. 

Hang on the bar, and communicate a pendu- 
lum movement to the body, gradually increasing 
it until you feel yourself in danger of flying off. 

This soon happens at first, but after practice 
the body can be swung through the greatest part 
of a circle. 

When you are well accustomed to the swing, 
you will find that when the body has swung 
nearly as high as the pole, the hands bear but 
lightly on the bar. 

So, take them ofi* altogether, and launch your- 
self boldly into the air. An inch or two will be 




sufficient at first, but many gymnasts can spring 
a foot or so from the pole. 

It has a bold and dashing effect. 



THE GREAT CIRCLE, 

If the gymnast will only dare he will achieve. 
But it is a trying affair for the nerves, both of 



GYMNASTICS. 



4 



performer and spectators, and never fails of pro- 
ducing quite a sensation. 

Swing as in the preceding exercise, and when 
at the full swing backwards, with the body at 
its highest elevation, put on all the steam, and 
go completehj round the bar. 

There must be no half measures about this 
exercise, for every particle of strength will be 
wanted to drive the body round so large a circle 
as that which is formed by the feet as a circum- 
ference, and the hands on the bar as a centre. 

Of course this is also impracticable on the 
triangle. 

KICKING THE BAR. 

Hang by the hands, and then slowly gather up 
the body, drawing up the feet until they touch 
the bar. 




Both feet should be kept together, and the 
movement performed with steadiness. 

One point to be observed in this exercise is, 
to throw the weight of the body and head as much 



42 



GYMNASTICS. 



behind the arms as possible, so as to make them 
ooimterbalance the weight of the legs and feet. 

Do not attempt to jerk yourself up, or plunge 
aoout in the exertion, for you might strain your- 
self by so doing. 

Lower yourself slowly, and if you fail at the 
first few trials, do not be discouraged. The 
-strength and knack will soon come. 

niSTXG ON THE BAR. 

Draw yourself up to your breast, and then 
with a sudden impulse straighten the arms, so 
that you raise the body until the bar crosses it 
at the hips. 

It is better to throw yourself an inch from 
the bar while you make the spring, as then the 
friction of the bar against the body is no 
hindrance. 

This is a much more difficult feat than making 
the " Great Circle," although it appears to be 
nothing at alL Practise it by rising with the 
right arm first, followed by the left, then vice 
versa, and lastly with both arms together. 

THE ROLL OYER. 

After raising yourself as in the preceding ex- 
ercise, change the position of the hands, so as to 
bring the finger-points on the same side as the 
body, then lean forvv^ard, and roll fairly over the 
bar, dropping lightly to your feet. 



GYMNASTICS. 



43 



Take notice that in all cases the toes should 
be kept pointed ; and that when the gymnast 
comes to the ground, he should do so on the tips 
of his toes, and not on the heel or the sole oi 
the foot. 

PASSING THROUGH THE ARMS. 

Hang on the bar, and curl yourself over as in 
Kicking the Bar. 

But instead of letting the feet touch the bar 
pass them neatly under it, and continue to pass 
the feet on until they hang as in the engraving. 

Then, after hanging as long as possible, drop 
to the ground. 




After you have practised this well, instead of 
dropping to the gi'ound, re-ascend, re-pass the 
feet, and then drop. 

This is a magnificent exercise for the shouldet 
blades and the muscles of the back. 

By practice you will be able to Jst the fmt 



44 



QYMNA(5TICS. 



hang nearly as low when the arms are thus 
twisted as when they are straight. 

SITTING ON THE BAR. — No. 1. 

Pass the feet under the bar. 

Then, instead of rolHng over, stretch the feet 
quite straight into the air, so that you are in 
a perpendicular position, the heels in the air 
and the head pointing towards the ground. 

Eest a moment in this position, and then draw 
yourself upwards by the arms until the weight 
of the legs and feet brings you upon the bar 
seated. 




Take care not to overbalance yourself and 
come round the wrong way, a mistake which a 
beginner generally commits. 

No. 2. 

Hang on the bar, and pass one foot, say the 
right, between the hands, and hitch it over the 
bar at the knee. Let the left foot hang as low 
as it can. 



GYMNASTICS. 



45 



Give a good swing backwards^ using the left 
leg as a weight to increase the power of the 
swing, and come upright upon the bar. 

Now, bring the left leg over the bar, taking 
care not to overbalance yourself by so doing, and 
then you are seated. 

LEAVING THE BAR. 

There are two neat modes of getting off the 
bar when you are seated upon it. 

In the first method, you put your hands on 
the bar, with the finger-XDoints forward, shde 
easily backward, keeping your knees bent, roll 
over backwards, and come on the feet neatly. 

The other plan resembles that adopted on the 
parallel bars. 

Place both hands on the bar, either on the 
right or left side, the finger-points turned away 
from the person. 

Then, with a slight spring, bring the feet over 
the bar, and vault to the gi'ound. Take care not 
to hitch the toes against the bar. 

BAR-JUMPING. 

Hang on the bar, and, by meana of the arms, 
jump along the pole from one end to the other. 

This is a capital exercise, and should be per- 
formed with the knees quite straight. 

It tries the arms consiiderabiy at first, and the 
hands too. 



40 



GYMNASTICS. 



Practise it with the hands under the bar, aiid 

then with one hand at each side. 




CI P.CLIXG THE BAR. 

Xow for a stiff one. 
Hang on the bar, and draw 
up the body and legs as if 
about to kick the bar. 

But, instead of kicking, or 
passing under it, raise the feet 
above the bar, continuing to 
draw yourself upwards until 
you have come quite round 
the bar. Do it slowly. 

LETIEK L. 

Hang on the bar, and then raise the legs until 
they form a right angle with the body. Count 
fifty before you drop the feet. 

ROASIIXG-JACK. 

Put one knee over the bar, letting the other 
hang down, and hold on with the hands. 

Now, swihg backwards, and give youi-self such 
an impetus that you come right round the bai', 
and come up again as before. 

You should be able to spin round the bar a 
dozen times without stopping. 

When you have practised this exercise back- 



GYMNASTICS. 



47 



ward, do the same thing forward, of course 
shifting the hands to the opposite side of the 
bai'. In the forward roll it is better to sit 
neai'ly astride the bar. 

THE TEUSSED FOWL. 

This exercise is calculated to test the power 
of the grasp and the force of the joints^ as it 
seems at first to have the efiect of pulling every 
joint out of its place. 

Hang on the bar, dravv up the feet, and put 
the insteps against the bar. 

Now push 3'our body right through the arms, 
as if you w^ere trying to turn yourself inside 
out, and after remaining in this attitude as long 
as you conveniently can, return in the same 
manner. 

THE TRUE lover's KNOT. 

This is an exercise difficult to describe, and 
not very easy to do. 
Proceed as follows : 

Grasp the bar ; pass the left knee through the 
right arm, so as to let the knee rest in the 
elbow ; pass the right knee over the instep of 
the left foot ; let go wdth the left hand, and with 
it grasp the right foot. 

You will now be suspended by the right hand, 
and will be packed up in a remarkably small 
space. 



48 



GYMNASTICS. 



Take care of the right wrist, or you will spin 
round and twist ofil 




By means of this exercise the wrist is very 
much strengthened, and the power of the grasp 
increased. 

THE L EOLL. 

Hang on the bar, forming the letter L. 

Xow, bring the feet through the arms, as has 
been ah-eady mentioned, but keep the knees 
straight all the time. 

THE GRASSHOPPER. 

Sit on the bar, and hold firmly with one hand 
on each side, points of fingers to the front. 
Let yourself gradually slide forwards, until the 

bar crosses the small of the back, and the elbows 
project upwards something like the legs of a 
grasshopper. 

Then draw yourself up again, and assume your 
sitting position on the pole. 



GYMNASTICS. 



49 



This is about the most difficult exorcise that 
has been mentioned, and tries the shoulders 



marvellously. But it should be learned, for it is 
very useful. 



Sit astride the bar, and place both hands ou 
the bar^ just in front. 

With a sudden spring, bring both feet upon 
the bar, the feet crossing each other at the heels ; 
•it the same time raising the body to an upright 
position. 

It is not strength that is required in this exer- 
cise so much as a good balance and presence of 
nind. 

Another mode of standing on the bar is that- 
vhich has already been mentioned in the Parallel 
Bars, viz. by placing one foot on the bar, hitching 
he other under it, and drawing up the body by 
he latter fc-ot. 




STANDING ON THE BAR. 



D 



60 



GYMNASTICS. 



HAXGDsG BY THE LEGS. 

Sit on the bar ; then suddenly slide backwards 
and drop, catching yourself by your bent knees. 

Be careful to drop quite perpendicularly, and 
not to communicate any swing to the body, or 
the legs may be unhitched and the gymnast come 
down on his nose. 

When the young gymnast can hang by both 
legs easily, let him take one of them from the 
pole, and remain suspended by the other. He 




fehould not (as some teachers recommend) catch 
the instep of the suspending foot with the knee 
ot the other. There is quite sufficient force in the 
one knee to hold him up, and if he keep it tightly 
bent, there will not be the least danger of its 
unhooking. 

HANG IN' G BY THZ FEET. 

We now proceed to a more ambitious perform- 
ance, namely, that of suspending the body by the 
feet instead of the knees. 



GYMNASTICS. 



61 



Hitch both insteps over the pole, forcing the 
toes upwards as much as possible. 

Then loosen the hands from the pole, and let 
the body hang perpendicularly, without a jerk or 
a swing. 



To raise the body again is not so easy, but it 
can be done with a little practice. But the 
neatest way to leave the pole when in this atti- 
tude is, by dropping to the ground on the hands, 
and so letting the feet come to the ground. 



If you have nerve, here is something where- 
with to astonish the natives. 

Sit on the bar, folding your arms. Then throw 
yourself a regular somersault backwards, as if 
you meant to throw yourself out of the 
triangle. 

But, as you come over, spread the legs, so that 




HANGINa FROM THE TRIANGLE. 



D 2 



52 



GYMNASTICS. 



the feet catch against the ropes. Let them slide 
dowD the ropeSj and you \vill be held by your 
insteps at the angle formed by the junction of 
the ropes and the bar. 

I once saw a man perform this exercise in a 
triangle raised fifty feet in the air. It had a 
taost startling effect, for, as he turned over, it 
seemed as if he must be inevitably dashed to 
pieces. 

THE ARM CHAIR, 

Spring upon the bar, and support yourself 
upon the fore-arms, as shown in the cut. 




This is rather a trying exercise. 

KISSING THE BAR. 

Another difficult exercise. Raise yom-self on 
the bar, as before mentioned; until the bar crosses 
the waist. 

Sink gradually down, until you can touch the 
bar with your lips, and then raise yourself again. 



GTHNASTICS. 



53 



THE WOODEN HOUSE. 

The series of horse exercises m extremely 
interesting. The performers always like the 
horse exercises, and bystanders seem to appre- 
ciate them even more than those on the hori- 
zontal bar. 

There is more scope for change of attitude than 
on the bar, and the legs are exercised as much as 
the arms ; in some of the feats much more so. 

COXSTRUCTION OF THE HOESE. 

The wooden horse is made of a great cylinder 
of wood, generally part of the trunk of a tree. 

It is mounted on four posts for legs, which are 
either driven firmly into the ground or fastened 
to a strong framework, so that no amount of 
force will push it over. 

A saddle should be placed on the back, rather 
nearer one end than the other, which saddle 
should be made of stout rough leather, and nailed 
firmly in its place. 

Two pommels, made of wood, and covered, if 
desirable, with leather, should also be placed on 
the horse, and the hind pommel should be rather 
higher than the other. 

A shallow pit, of a few inches in depth, and 
some four feet square, should be dug in the off- 



54 



OTMNASTTCS. 



side of the horse, and filled with sawdust, on 
which the gymnast may alight after some of his 
lofty leaps, or into which he may chance to 
tumble, should he miss his mark. 

The paving on the near side should be of sand 
if practicable, or very fine gravel. 

Many gymnasts like to have a spring board 
from which to leap, and I rather recommend it. 

The board should be made of several narrow 
boards, placed side by side, and firmly nailed to 
stronger pieces that lie across them. 

On the centre of the board should be fix^^d a 
piece of leather or cai^et, in order to afford the 
feet a firm hold in jumping. 

Each end of the board must be supported on 
wooden blocks, so as to give it space for spring- 
ing. If the ground is hollowed under it, the same 
result will be attained. 

The height of the horse is regulated by that of 
the gymnast, the top of his nose affording an ac- 
curate criterion ; for the top of the saddle ought 
just to come up to that feature. 

MOUNTING THE HORSE. 

Stand on the near side of the horse, placing 
one hand on each pommeL Then spring up, and 
bring the arms straight, so that the body is sup- 
ported by the hands, while the legs rest lightly 
against the horsa. 



GTMXASTICS. 



55 



After remaining for a few moments in this 
attitude, jumj) to the ground and up again imme- 
diately. Continue to practise this 
jumping, until it can be done easily, 
and remember always to come down 
on the toes. 

When you can jump up and down 
six or seven times successively, make 
a rather higher leap than usual, 
throw the right leg over the saddle, 
removing the right hand to let it 
pass, and then you are fairly mounted. 

Practise mounting both ways ; it's only a 
wooden horse, and does not feel insulted even if 
you do moimt with your face to his tail. 

DISMOUNTING. 

To dismount properly and neatly, place ihe 





left hand on the fore-pommel, and the right hand 
on the saddle. 



GYMNASTICS. 



Baise yourself a little on the hands, and throw 
yourself off, coming on the ground nicely on your 
toes. 

SUSTAINING THE BODY. 

Spring up as in the preliminary exercise, arms 
stiff and legs straight. 

Now throw yourself a little away from the 
horse, and bring yourself back again by the 
arms, without suffering the feet to touch the 
groimd. 

This is an useful exercise to prepare oneself 
for a real horse that starts away as it is being 
mounted. 

KNEE PRACTICE. 

Place both hands on the pommels, then leap 
up, and kneel with the right knee on tho 
saddle. 




Leap down, up again, and come with the left 
knee on the saddle. 
Afterwards kneel with both knees, taking care 



GY5INASTICS. 



5; 



not to go too high, as you may chance to topple 
over ignominiously. 



But, as it is possible that you might so err, tac 
following exercise will teach you how to escaps 
the danger of a fall. 

Leap up with the knees on the saddle. Lean 
well forward, and, with a bold spring, clear both 
legs of the saddle, and come to the ground. 



There is not the least difficulty about this 
exercise, although, when it is first attempted, the 
legs feel as if they were secured to the horse. 
Only daring is required, and after doing it once, 
you will do it ever afterwards with perfect ease. 



Hands on saddle as before. Now, leap up well, 
and pas^ the right leg clean over the saddle, 
between the arms. 

Make a shght spring from the arms, withdraw 
the leg and arms to the ground, immediately 



THE KNEE LEAP. 




LEQ THROUGH ARMS. 



58 



GYMNASTICS. 



springing up again, and passing the left leg 
through the arms. 

Let the unused leg hang down easily, and keep 
the body upright. A stooping attitude has a 
most awkward effect. 



Mount, but instead of seating yourself on the 
saddle, do so behind it. 

Now place the left hand on the fore -pommel, 
and the right on the hinder, as in the engraving, 
and swing the body completely round, so as to 
seat yourself before the saddle, your face looking 
towards the hind pommel, and the feet not 
touching the ground at all. 



Then change hands^ and swing round again, so 
as to bring yourself into the position from which 
you started. 

This is very useful exercise for developing the 
power of the arms. 



SWINGING PRACTICli:. 




GYMNASTICS. 



69 



KICKING THE SADDLK 

Hands on pommels. Jump up, 
and bring the toes to the top of 
the saddle, as in the illustration. 

Afterwards go a little higher, 
place the soles of the feet on the 
saddle, let go the pommels and 
come up standing erect on the 
horse. 

ARM PRACTICE. 

Mount. Place the hands on the front pommel, 
and raise the body as high as you can. There is 
not the least danger of going too high. 

"When you can thus suspend yourself for a 
short time, try to do so while you swing youi 
body gently. 

Lastly, raise yourself up as before, and slap the 
soles of your feet together over the top of the 
saddle. 

CROSS PURPOSES. 

Which cannot happen accidentally. 

Mount, and placing both hands on the front 
pommel, swing yourself as high in the air as 
possible, crossing your legs at the same time, 
and twisting the body, so as to seat yourself 
again on the saddle, but looking in the opposite 
direction. 




60 



GYMNASTICS. 



Having done so, swing up again and resume 
your former position. 




A very decided swing is required here, or you 
will kick your shins with your own heels, which 
Is one of the most irritating of occurrences. 

THROUGH THE ARMS. 

Hands on pommels. Take a good spring, and 
bring yourself completely over the saddle, passing 
through your arms as you do so. 

When your feet are well clear of the horse, 
give an impulsion with the arms, and alight on 
the ground neatly. 




This is a very eflfective exercise, and does not 
require so much strength as boldne^js. If you 
hesitate, down you go. 



GYMNASTICS, 



61 



SIDE-SADDLE. — No. 1. 

Stand with the right side to the saddle, hands 
on pommels. Spring up well, ani throw the right 
leg into the saddle, lifting the left hand to let 
the leg pass, but retaining the hold of the other 
hand. 

Dismount, and instantly leap up again ; but 
mount with the left leg, removing the right 
hand. 

Persevere in this, and then proceed to the next, 
which is more difficult, and requires a neater 
balance. 

No. 2. 

Hands on pommels. Leap up, and throw both 
feet completely over the body of the horse, and 
seat yourself behind the saddle, as is here 
shown. 

Down, and, with a spring, seat yourself in the 
same way on the front of the saddle. 




Take care not to put on too much steam, or 
you will slide over the horse and come down in 



62 



GYMNASTICS. 



the sawdust ; "while, if you do not put on enough, 
you will come slipping backwards, doubled up in 
an absurd fashion. 

THE VAULT. 

Hands on pommels, and throw both legs com- 
pletely over the back of the horse, as in the cut. 

Do it at first with the aid of a short run, but 
afterwards with a simple jump. 




Practise the vault first with the feet to the 
right, and then to the left. Indeed, ail these 
exercises should be so practised, or they will not 
develop both sides of the body equally. 

SIDE-SADDLE LEAP. 

Spring up as in Side-Saddle No. 2, but let the 
legs pass completely over the horse, while the 
knees are kept straight, the body erect, and one 
hand on the back pommel. 

THE BACK VAULT, 

Sit behind the saddle, placing both liancL, on 
the hinder pommel. 



GYMNASTICS. 08 

Raise the body on the hands, and with a 




powerful effort of the arms, throw yourself cleai 
off the horse. 

THE SINGLE HAND LEAP. 

Try to leap into the saddle, while one hand 
only holds the pommels, and the other hangs 
quietly by the side. First right hand, and then 
left. 

THE SOMERSAULT. 

Take a shoiii run, put both hands on the pom- 
mels, and fling yourself fairly over, not loosing 
your hold of the pommels, until the feet have 
well passed the centre of the horse. 

Don't be afraid. If you only hold on well by 
the pommels, yon m^ist come down properly 
There is no need for a very powerful swing, for 
the best gymnasts come over quite slowly. 

THE DOUBLE SOMERSAULT. 

This exercise I believe to be my own special 
invention, and I never saw any on© who could do 



64 



GYMNASTICS. 



it except the inventor. But there is no reason 
why every one should not learn to do it, for it 

inerely depends on the exact preservation ol 
balance. 

Go over the horse, as in the preceding para- 
graph, but do not loosen the hold of the hands 
whon you come to the ground. 

Your attitude wiU be now rather curious, the 
back bent like a bow, the head falling backwards, 
and the hands over the head. 



as shown by the artist. 

In rolling over the saddle, the head is bent 
forward, or the nose would get a sad scrape 
against the back of the horse. 




Now make as powerful a 
spring as the legs can achieve, 
and with the arms draw your- 
self over the horse again, thus 
performing exactly the re- 
verse of the forward somer- 
sault. 



There is a slight error in 
the engraving, for the fingers 
ought to be turned inside the 
saddle, and not outside it, 



THE EXD. 



■34 



